Ok guys! Since we want this collab to be as good as possible we had some ideas. One of them is that it would be better to chose one of 2 free slot for the solos - one is when the drums start to play (about 48 seconds) 1:03 - 1:47 and second is just after the "no drums pause" in the middle - starts at 1:48.

Generally we think that making short but polished, descent solo will give better results than some not always confident improvisation over whole track. When You could focus on short part, then You could make miracles with it You could start from improvising and try to get some cool ideas from a few different, recorded improvisation tracks. Then You could combine best ideas and try to learn them as a one piece of good solo

You can use some arpegios that Gabriel suggested. Just a reminder. We're in the key of B-minor. You can use any shapes for scales related to this one....for example A-mixolydian licks when You hear A-major chord in the backing track. Otherwise You can use basic B minor pentatonicor B aeolian minor scale. At the end of each part there is a 4# (F note added = blue note) but don't be aware of it. You don't have to use this note at those points - it's only an option to expose the "dark atmosphere" of that moment.

Ok guys! Since we want this collab to be as good as possible we had some ideas. One of them is that it would be better to chose one of 2 free slot for the solos - on is when the drums start to play (about 48 seconds) and second is just after the "no drums pause" in the middle.

Generally we think that making short but polished, descent solo will give better results than some not always confident improvisation over whole track. When You could focus on short part, then You could make miracles with it You could start from improvising and try to get some cool ideas from a few different, recorded improvisation tracks. Then You could combine best ideas and try to learn them as a one piece of good solo

You can use some arpegios that Gabriel suggested. Just a reminder. We're in the key of B-minor. You can use any shapes for scales related to this one....for example A-mixolydian licks when You hear A-major chord in the backing track. Otherwise You can use basic B minor pentatonicor B aeolian minor scale. At the end of each part there is a 4# (F note added = blue note) but don't be aware of it. You don't have to use this note at those points - it's only an option to expose the "dark atmosphere" of that moment.

Hi mate, I agree with Cosmin about the structure of your solo. I think that you could check Darius "Important Note" post, and try to focus on a shorter section for your solo an try to find a structure for it based on phrases that has some kind of connection. Remember to use the arpeggios that I suggested but also feel free to use the Pentatonics that Darius listed. I hope to hear a new sample from you!

You have a good start with the repeated theme, but I think you could build it up even more and build it up so you have a nice and punching ending, so that you have the climax in the few bars where the backing track "goes crazy". I'm sure you have it in you!

Nice beginning - no fight with the violins thebe but missing some fluency - more dynamics, more colors like sofr or ard strokes. Try to glue notes a bit by adding some soft slides and legatos to the concept You have for now/

Second part need...tuning device Check out the measure adjustment to make sure nothing is wrong with high positions tuning There is some mess in those fast runs but I'm sure You can make it work

Nice beginning - no fight with the violins thebe but missing some fluency - more dynamics, more colors like sofr or ard strokes. Try to glue notes a bit by adding some soft slides and legatos to the concept You have for now/

Second part need...tuning device Check out the measure adjustment to make sure nothing is wrong with high positions tuning There is some mess in those fast runs but I'm sure You can make it work

Still some tuning issues, but I'll blame the just new strings. Will be sure to be in tune for the final take.

Still some tuning issues, but I'll blame the just new strings. Will be sure to be in tune for the final take.

This is a bit better Ben but still there are problems with bending pitch and I might be wrong but it feels like You're trying to fit some 16th notes patterns in those fast runs and You become confused while playing - You miss to fit the rhythm. Maybe try to make an hour practice of triples groves because those would work best with the track.

Jouve! this is very nice concepts the theme is very good! I would only remove some notes at the end. Being in Your shoes I would just try to add some tiny details but the sketch is very musical (at least most of it and this i a good path!

This is a bit better Ben but still there are problems with bending pitch and I might be wrong but it feels like You're trying to fit some 16th notes patterns in those fast runs and You become confused while playing - You miss to fit the rhythm. Maybe try to make an hour practice of triples groves because those would work best with the track.

I agree with Darius, mate - there's always another option - keep it simpler and more melodic, instead of complicating yourself simply for the sake of playing faster. Instead, you could try building up patterns with less notes but with unexpected phrasing

Hello Dieter! I still think that you should focus a bit more on choosing a smaller section, as right now the notes feel like they are in the air with no direction to them, although, there are points in which you seem to build up a bit of direction. Have you checked out the latest addition to the suggestions for this collab? Check this out, as it might be of help:

IMPORTANT NOTE !!!

Ok guys! Since we want this collab to be as good as possible we had some ideas. One of them is that it would be better to chose one of 2 free slot for the solos - one is when the drums start to play (about 48 seconds) 1:03 - 1:47 and second is just after the "no drums pause" in the middle - starts at 1:48.

Generally we think that making short but polished, descent solo will give better results than some not always confident improvisation over whole track. When You could focus on short part, then You could make miracles with it smile.gif You could start from improvising and try to get some cool ideas from a few different, recorded improvisation tracks. Then You could combine best ideas and try to learn them as a one piece of good solo smile.gif

You can use some arpegios that Gabriel suggested. Just a reminder. We're in the key of B-minor. You can use any shapes for scales related to this one....for example A-mixolydian licks when You hear A-major chord in the backing track. Otherwise You can use basic B minor pentatonicor B aeolian minor scale. At the end of each part there is a 4# (F note added = blue note) but don't be aware of it. You don't have to use this note at those points - it's only an option to expose the "dark atmosphere" of that moment.

I agree with Darius, mate - there's always another option - keep it simpler and more melodic, instead of complicating yourself simply for the sake of playing faster. Instead, you could try building up patterns with less notes but with unexpected phrasing

I'm playing around with some different note choices. Hopefully I'll get there in the end with a take as good as can be.